Professional Documents
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Dynamic
Musician
Series:
Dynamic Stability and Breath
Volume 2
Four Feldenkrais Method Awareness Through Movement audio lessons and
guidebook. For wind instrumentalists and vocalists of all levels and abilities.
Table of contents
Introduction to Volume 2
What is Dynamic Stability and Breath?
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Part One
Audio Lessons
Guidelines for using the audio lessons
Lesson 5:
Lesson 6:
Lesson 7:
Lesson 8:
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9
10
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Part two
Body warm-ups
Guidelines for doing the body warm-ups
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Body warm up 8:
Body warm up 9:
Body warm up 10:
Body warm up 11:
Body warm up 12:
Body warm up 13:
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Dynamic Stability means being stable and comfortable in an upright position and having the freedom to move in all directions as well.
You may not even feel that you are moving and adjusting when standing or sitting, but if
you take a moment and just sit without leaning back on your chair, and pay attention to the
position of your head, your breathing and the contact you have with the chair, you will begin
to notice that you are making tiny little adjustments all of the time. This becomes even more
obvious while standing. The mere fact that you are breathing also means you are in motion.
Now try holding yourself still for a moment. You may notice that you begin to restrict your
breathing, and actually tighten the muscles in your belly, back and chest just to keep from
moving. If you do this for very long, it begins to get tiring. At any stage in our development,
regardless of age, we can rene and improve our nervous systems ability to keep us balanced
and upright. This in turn will enhance our breathing and hence benet our singing/playing.
Because this series is based upon awareness and experience, the best way to
understand what Im talking about is to do the audio lessons.
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Each lesson begins and ends with a body scan while sitting, lying or standing. The purpose of
the scan is to guide your attention to certain areas of your body and to provide a context in
which you may feel the effects of the lessons. During the scan, I will be asking questions like:
Does one leg seem heavier than the other? Notice where you feel some ease in breathing,
or directing your attention to certain parts of your body. You may not sense some of the
differences I mention, which is ne. You may also sense some things that I dont mention and
this is perfectly normal. As you progress throughout the lessons, your ability to sense and
feel yourself will grow and become more acute.
Because some of the lessons are done while lying on the oor and others in sitting, the
positions will be listed at the beginning of the lesson introduction so you can prepare your
working space before starting the lesson.
Each lesson (except number seven) introduction has a few photos, which I call visual cues
to help orientate you to some of the positions and movements during the lessons. These are
suggestions and do not have to be exactly as in the picture.
When breathing during the lessons, make sure your breath is free and easy. In some parts of
the lessons, you will be asked to coordinate your breathing with your movement or you will
be asked to breathe while staying in a certain position. There is no need to make a sound or
breathe in a special way while doing this. Make sure your throat and lips are open if you are
breathing through your mouth. I suggest doing some breathing through your nose as well.
Getting up from lying after a lesson. In some of the lessons you will need to get up from lying
to standing. This transition is very important for bringing the learning from on the oor into
being upright. It is important to get up by slowly rolling to one side and then coming up to
sitting. Sit for a moment and then slowly come up to standing. When you are standing, take
a few moments to feel your feet on the oor and your breathing. Take some time to walk
around before continuing with your practicing or daily activities.
If you decide you want to repeat some (or all) of the lessons, you can skip the introduction part
on the CD.
Lesson 5
Oscillating your chest and abdomen
CD 3: Introduction Track 1
Lesson
Track 2
Lesson positions: Lying and sitting (Have your chair ready for the end of the lesson)
Corresponding Body warm-ups
8. Oscillating your chest and abdomen- sitting
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Page 18
In this lesson, you will be alternating expanding your chest and abdomen. This may seem
quite strange at rst so it is very important to keep the movements subtle and small at
rst. After a few repetitions you will probably nd the movements becoming easier and
even pleasurable. You have already been working with softening the chest in the rst three
lessons and this lesson will build on that. My experience is that most singers/wind players
catch on to this lesson fairly quickly because they have already spent so much time working
with their breathing. One of the important aspects of this lesson is the softening of the
ribs and abdominal muscles, which will help increase your ease with inhaling and breath
capacity. This lesson is also useful for developing subtle breath control and relaxing your
whole breathing apparatus. I nd doing a few of these movements helps me to relax during a
practice session and improves my tone quality.
If possible, let your elbows rest on the oor when you have your
hands on your chest and abdomen. If this is not comfortable, you
can place some folded towels or pads under your elbows.
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Lesson 6:
Exhaling while extending your lower abdomen
CD 3: Introduction Track 3
Lesson
Track 4
Lesson positions: Lying, sitting and standing (have your chair ready for the end of the
lesson)
Corresponding Body warm-ups
10. Extending your lower abdomen while exhaling- sitting
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In this lesson, you will learn to exhale while extending your lower belly. For some, this may
seem impossible or even ridiculous. Interestingly enough, it is possible and it works. If you
observe somebody laughing fully and deeply, you will notice that their belly protrudes as
they produce sound. Another example of this is coughing. If you place your hands on your
lower belly and cough with an open throat, you will notice that your belly is extending while
you are coughing (which is an extreme form of exhalation). Of course it is also possible
to cough by contracting your belly, but this is much less effective. What do coughing
and laughing have to do with making music? Perhaps not much, but the freedom in your
abdominal muscles can have a profound effect on your tone quality and softness in your
throat, and you will gain more control over your abdominal muscles. I have found that when
students and even accomplished musicians tighten their lower bellies their throats also
can become tight and tone quality suffers. The ability to regulate the tension in your lower
abdominal muscles is a crucial skill. Personally, I nd doing a few movements from this
lesson can help restore the freedom in my abdomen even when Im in a performing situation.
Lesson 7
Pacing your breath
CD 4: Introduction Track 1
Lesson
Track 2
Lesson position:
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This is the quietest lesson of all the lessons and you will pace your breathing by tapping
your nger. The breath cycle will be divided into four parts; (1) Inhaling, (2) Stopping the
breath before exhaling, (3) Exhaling and (4) Waiting before inhaling again. When playing
or singing, we usually need to inhale as quickly as possible and exhale over a longer
period of time. Slowing down the breath cycle into equal parts allows you to examine
what happens with your throat, neck, back and abdomen during the various phases of
breathing. An important aspect of this lesson is to notice how you stop your breathing.
One common way is to stop the air in the throat. This causes unnecessary tension in
your throat, neck and chest. However, it is possible and benecial to stop the breath by
stopping breathing rather than holding the breath. Related to this aspect is also the
regulation of the airow. In this lesson you will improve airow regulation by rening the
movements of your diaphragm, abdominal muscles and chest, so it is very important that
your throat and mouth stay open and relaxed during the lesson.
exh a l e
inhale
A graphic representation
of the breathing cycle
might look like this.
pause
p a us e
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Another thing to notice during the lesson is, how you begin to inhale after stopping the
breath. In an attempt to inhale as quickly as possible, some performers will make small
extra movements in their chest, back and neck as if they were gulping for air. This causes
unnecessary movement and may even lead to increased tension.
How do you react to having to wait before inhaling? Some people will begin to have a
sense of unease or even panic while waiting to breathe in again. If you begin to have
uncomfortable sensations during the lesson, pause for a bit and breathe as you normally
would until you feel better. You can even stop the CD, or in extreme cases, stop the lesson and start again later. Ironically, this waiting to breathe is often what is required of
singers/vocalists and wind players. We have to t our breathing to the tempo and style
of the music and breathe in appropriate places so as not to disturb the phrase. Perhaps a
personal account can better explain what I mean.
During a workshop where we were doing many long variations of this lesson over the
course of four days, I began to feel a sense of panic during the longer pauses before
inhaling. I realized this panic came from the idea that I might not get enough air again. I
also noticed that I was making some unnecessary movements in the back of my neck and
chest when inhaling after waiting. When I came home and began practicing the trombone, I discovered that the same subtle feeling of panic would start to crop up in longer
phrases and I would begin to tighten my neck and throat. Becoming aware of this pattern
enabled me to breathe more smoothly and efciently. In working with music students,
performers and teachers, I have often found a similar tendency when inhaling. Many of
my students have reported a sense of well-being and calmness after doing this lesson.
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Lesson 8
Breathing out with alternating movements of contracting and extending
your abdomen
CD 4: Introduction Track 3
Lesson
Track 4
Lesson positions: Lying on your back and on both sides
You wont need a pillow for your head while lying on your side because you will rest your
head on your arm (of course, if the given position is not comfortable for your arm and/or
head, use some support under your head).
Corresponding Body warm-ups
13. Breathing out with alternating movements of contracting
and extending your abdomen- sitting
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Up to this point, very little has been said about the process of inhaling and there is a reason
for this. Many schools of breathing give very detailed instructions on how to inhale to
achieve maximum capacity and efciency. There are numerous rules such as dont lift your
shoulders, only breathe into your belly and hold your chest open just to name a few that
I have heard over the years. As with posture, these well meant instructions often neglect
the students own awareness and miss the chance for the student to nd out how he/she
senses what he/she is doing. In the DMS, part of the learning and improvement that takes
place is simply because the student becomes more aware of what is going on in her/his own
body while breathing through sensing and feeling. Another aspect of the improvement from
this series is that your nervous system is organizing your movement and breathing to become
more efcient and dynamic.
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Body warm-ups
Body warm-ups are to be used between the audio lessons to reinforce the learning process
and as a short preparation for practicing/performing. These lessons are short and can be
done wherever you are practicing or warming up. After you have gone through the audio
lessons, you may use the body warm-ups in any way you feel suits your needs that day. These
lessons will be most effective when used in conjunction with Volume 2 of Dynamic Stability
and Breath or by people who have attended a DMS workshop.
A few guidelines
Do all of the movements slowly and gently. Make sure you are comfortable while moving.
Never strain or stretch while doing the movements.
Pause or rest before you feel any signs of fatigue.
Use the Body warm-ups at the beginning of your practice session before singing or
playing.
You can also use the lessons during or after a practice session to refresh yourself or
take a break.
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9. Place your hands once again on your belly and chest and begin oscillating back and forth
between belly and chest. Find a rhythm that you can easily sustain. Once you have found
this rhythm, begin exhaling slowly while continuing the oscillations. You may be able to
oscillate several times before the air runs out, at which time you can rest for a few breaths
and start over. Repeat his several times and keep the exhalation smooth and steady. If you
are breathing through your mouth, make sure your lips, jaw and throat are relaxed. It is
important to control the exhalation with your chest and belly muscles and not by adding
resistance from your mouth and/or throat. Rest for a moment with your hands on your
thighs and notice the sense of ease in your chest and in your belly.
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1. Sit so that your back and pelvis are free from the back of the chair. Have your feet resting fully
on the oor and a comfortable distance apart from each other. Make sure your knees are over
your feet so that your lower legs are roughly perpendicular to the oor. If your feet do not easily
rest on the oor then sit a bit more forward on the chair.
2. Notice if you sense some movement in your lower abdomen (between your belly button and
pubic bone) as you inhale and exhale. Does this area feel free to expand and contract as you
inhale and exhale? If you are not already doing so, hold your lower abdomen still so that it
cannot move as you breathe. Notice if this has an effect on your feeling of ease in breathing. Let
that go.
3. Place one hand on your chest (see visual cue from audio lesson 5) and one on your lower belly
below your belly button. Breathe in two thirds to three fourths of your full capacity and hold
your breath. Begin to oscillate between your chest and lower belly, similar to Body warm-ups
eight and nine except that you begin to think of pushing the air deeper into your lower belly.
It might be helpful to imagine a ball of air going into your lower belly (of course there is no air
going down that far) and massaging those muscles from the inside. Let the air out when you
need to, rest for a few breaths and then start up again. Repeat this process several times and
then rest your hands on your thighs.
4. Place your hands once again on your lower belly and chest and begin oscillating back and forth
between lower belly and chest. Find a rhythm that you can easily sustain. Once you have found
this rhythm, begin exhaling slowly while pushing into your lower belly and continue oscillating
until you run out of air. Rest for a few breaths and start over. Repeat this several times and keep
the exhalation smooth and steady. If you are breathing through your mouth, make sure your
lips, jaw and throat are relaxed. It is important to control the exhalation with your chest and
belly muscles and not by adding resistance from your mouth and/or throat. Rest for a moment
with your hands on your thighs and notice the sense of ease in your chest and in your belly.
5. Place both of your hands on your lower abdomen so that your ngertips are pointing towards
each other. Again take a moment to sense the movement under your hands. Breathe in and hold
your breath for a moment. Gently push the air into your lower belly and when you feel your
lower belly push out, begin to exhale slowly. Keep pushing your lower belly out until you run
out of air. Let your lower belly soften. Rest for a few breaths and repeat this sequence until you
feel your lower belly softening. Rest your hands on your thighs.
6. Place both of your hands on your lower abdomen so that your nger tips are pointing towards
each other, breathe in and gently push your lower belly out when you begin to exhale. Continue
breathing out until you run out of air and let your lower belly soften. Rest for a few breaths and
start the process again. Repeat this sequence several more times before beginning to play or
sing.
You may want to play/sing a few notes breathing this way as you start your practicing. You can also
repeat step number six during your practice session or performance if you feel your lower belly
beginning to tighten.
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Appendix:
More information about the Feldenkrais Method
The Feldenkrais Method (FM) was developed by and named after Dr. Mosh Feldenkrais
(1904-1984) who, in addition to being a mechanical engineer and physicist, was one of the
rst Europeans to hold a black belt in Judo. Dr. Feldenkrais began to develop his method
as a response to a series of knee injuries. Determined to rehabilitate himself but unsatised
with traditional medical solutions for his injuries, he began to study human development,
evolution, physiology and neurology as well as many other schools of thought. In addition
to facilitating his own recovery, he discovered that his ideas were applicable to many other
people with a wide variety of difculties and interests. Two of his most famous students were
Yehudi Menuhin and Peter Brooks.
Dr. Feldenkrais realized that the motor cortex (the part of the brain responsible for moving
muscles) is exible and can change and adapt throughout a persons whole life. This idea
is now being conrmed by modern neuroscience. What Dr. Feldenkrais also discovered is
that people who engage in activities requiring a high level of skill and precision rene their
movement patterns for that specic activity, but often fail to include the parts of themselves
that support these functions. Of course, in order to perform at high levels, a certain degree of
specialization is absolutely necessary. For musicians, this specialization in combination with
stress factors (stage fright, pressure to perform, long and tiring rehearsals, etc.), may lead to
overuse, and possible pain/injury.
For a long time, it was thought that the one and only way to improve musical performance
was to practice, practice harder and practice longer. More recently, because many
performers and even students suffer from performance and practice related maladies,
enterprising musicians have been searching for answers beyond the eld of music teaching,
and investigating other realms of learning. What many teachers, students and performers
are discovering is that looking outside of the musical world not only brings relief from the
maladies associated with countless hours of practicing, rehearsing and performing, but
actually can enhance the study and performance of music. One system that has proven to be
very benecial is the Feldenkrais Method (FM).
For example, a utist may have cultivated his nger dexterity to a very high level, but has
neglected the use of his legs and pelvis while standing. This leads to a lack of support and
freedom in his shoulders, which in turn begins to limit the nimbleness of his ngers. If
our utist feels that his ngers are not working as quickly as they should, he may begin to
emphasize nger exercises in his daily practice routine. Now he is working overtime with his
hand and ngers to compensate for his lack of awareness in his pelvis and legs.
However, by improving the use of his legs and pelvis, standing will become easier, his
shoulders freer and he will be able to improve the use of his ngers. Additionally, because
standing has become easier and more comfortable, his breathing will improve, his neck
will feel longer and his tongue becomes lighter and faster. So in working with parts of his
body seemingly unrelated to ute playing, he has prevented possible injury or damage to his
ngers and improved his overall playing ability. This is one simple example of how the FM is
useful for musicians.
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Additional reading:
Books by Mosh Feldenkrais on the Feldenkrais Method
Feldenkrais, Moshe.1991, Awareness Through Movement.
San Francisco: Harper San Francisco
_____. 1994, Body Awareness As Healing Therapy: The Case of Nora.
Frog Ltd
_____. 2003, Body & Mature Behavior: A Study of Anxiety, Sex, Gravitation & Learnin
Learning.
International Universities Press
_____. 1981, The Elusive Obvious. Cupertino, California: Meta Publications
Feldenkrais, Moshe and Michaeleen Kimmey. 1992, The Potent Self: A Guide to
Spontaneity. San Francisco: Harper San Francisco
Feldenkrais, Moshe, Michaeleen Kimmey and Mark Reese. 2002, The Potent Self: A Study
of Spontaneity & Compulsion. Frog Ltd
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Books and articles about the Feldenkrais Method from other authors.
Nelson, Samuel H. and Blades-Zeller, Elizabeth. 2002, Singing with Your Whole Self.
The Scarecrow Press, Inc.
Shafarman, Steven. 1997, Awareness Heals. Addison-Wesley Publishing Co., Inc.
American Suzuki Journal
The Feldenkrais Method, Linda Case Speaks with Paul Rubin
Volume 23, Number 2 - February 1995
Tarr, John. 2004, The Dynamic Musician Ser
Series: Dynamic Stability and Breath, Volume 1
www.dynamicmusician.com
Tarr, John. 2005, The Magic Piccolo. Senseability: A newsletter of applications of the
Feldenkrais Method of somatic education written by Guild Certied Feldenkrais
Teachers Issue number 34
Available on-line: http://www.feldenkrais.com/senseability/detail
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John Tarr studied Trombone Performance at the University of Northern Colorado and the
San Francisco Conservatory of Music (Bachelors and Masters Degree in Music Performance
respectively). Additionally, John is a Guild Certied Feldenkrais PractitionerCM and
Assistant Trainer working in private practice in Basel, Switzerland and Feldenkrais Teacher
Training Programs. He also maintains a small trombone studio and gives workshops in The
Dynamic Musician Series and the Feldenkrais Method in Europe and the U.S.A.
If you would like to schedule a DMS workshop at your school or in your area, nd out about
scheduled workshops or have questions regarding the DMS, please visit the DMS website:
www.dynamicmusician.com. Podcasts of mini-DMS lessons are also available for free from
the website and iTunes music store.
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